Finally - the Blogger Theme bugs appear to be fixed

We'll see if it sticks this time. Going back to the beloved Mia Cornonstipicum background.

Caravan. 1969 England

I thought I'd written about all the Caravan albums in the past, but apparently I've only tackled two of them, and not the best ones either. Ha! So time to start a retrospective. Not that I have much to say here. Caravan's history is well documented, and this debut shows the group as a very raw entity at its beginning. Which is part of its charm. They were nowhere near the level of their other former bandmates (from The Wilde Flowers) Soft Machine at this stage of their career. But they caught up fast, and arguably surpassed them in short order. Highlights here include the organ-up-front 'Place of My Own', Jimmy Hastings' first of many cameo's 'Love Song with Flute', and the closer 'Where But For Caravan Would I?' which predicts their future closing opus' that ultimately defined Caravan's place in history.

Ownership: LP: 1972 MGM. Single sleeve with alternate cover. Recent acquisition from Tiger Records (2022). Turns out it was this version that I first owned and bought new from Peaches Records in Dallas (1985). This copy also looks new remarkably. 

CD: 2002 Verve (Japan). Papersleeve edition. It's essentially the exact same reissue as the European version with the Japanese packaging. Best of both worlds. The booklet has copious historical notes with input from Pye Hastings. Both the mono and stereo versions are included. They also added the 'Hello, Hello' 45 single which technically goes with their next album, but they didn't have the master tapes at the time it was reissued. Shortly thereafter they did find them and added it to this reissue instead. This CD is part of the Disk Union Caravan box set, one of the treasures of my collection.

1985; 6/30/22 (new entry); 12/10/22 (LP acquire)

Puppet Show - Traumatized. 1998 USA-California

A few years ago I listened to and wrote about Puppet Show's second album The Tale of Woe, but it's been over 20 years since I last heard their debut. Puppet Show belongs to that odd category of "neo prog / retro prog" Genesis / Yes inspired bands. The compositions and delivery are definitely taken from the 80s groups such as IQ and early Marillion. The instrumentation is more analog in nature (organ, mellotron), and represents the 1970s approach. Other bands that did this were Sweden's Simon Says and the Dutch group Cliffhanger. Lots of twists and turns and very easy to absorb if already familiar with the major tenets of progressive rock. Puppet Show do not tread new ground and it's all very familiar. However I'm game for another 55 minutes of music such as this. Another pleasant surprise from an album that lays hidden in the collection.

Ownership: CD: 1998 Kinesis. Jewel box release with booklet containing lyrics, arty photos, and recording details. Picked up at a discount a couple of years after release. 

2000; 6/30/22 (new entry)

Brainticket - Cottonwoodhill. 1971 Switzerland

One of the earlier Krautrock albums for me to obtain, Brainticket's debut could almost be considered an exploitive album for the movement, if such a movement existed real time. It's obviously very self-conscious of promoting its LSD nature, and the music goes to great lengths to prove it. For my tastes, I've always enjoyed the opening two tracks with the Leslie affected vocals. Adding flute and female vocals to 'Places of Light' makes that song the highlight of the album for me. The album is most known for its 2 part self-identifying 'Brainticket' opus. And like a lot of people, I feel it's too much of the same thing. Were I to edit, I would have taken 'Brainticket, Part II', which encapsulates best what the group is trying to accomplish. That would have left 12 to 15 more minutes of tracks like 'Black Sand' one would hope. In any case, this last portion has some of the most intense and freaked out parts of "Dawn"'s psychotic rambling. The bits with "Arthur" and the "communication breakdown between you and you" represent some of the crazier highlights. The improvised choppy Hammond riff, the insane female narration, and the sound effects are all legendary by now. Just wish there wasn't so much repetition.

Ownership: LP: 1971 Hallelujah (Italy). Gatefold. I had been in the market for a true first pressing, and I finally obtained one online in 2015. You can spot the first edition by the numbered ticket "X 606" on the front cover. Sometimes I think I like the cover more than the music. Though some of the quotes are a bit silly in retrospect, but probably had impact at the time. As I said above - a bit exploitive.

LP: 1977 Bellaphon (Germany). Gatefold. Picked up at the Austin Record Show in the fall of 1988. This is the first copy I bought and was my introduction to the album and group. Today it is displayed on my wall of albums. Definitely an eye catching cover. I also used it as the cover for my first Creativity and Chaos (pre-Purple Peak) catalog back in 1995.

CD: 1989 Bellaphon. Music like this is fun to have a mobile copy to play. Otherwise the CD is a straight jewel box reissue with no extras of any kind.

10/8/88; 9//12; 6/30/22 (new entry)

xx

Finch - The Making of... Galleons of Passion / Stage '76. 1976-77 Netherlands (archival)

I've written about Finch extensively in the past as they were one of the earliest obscure European prog bands for me to discover in the early 80s (via the ATCO (USA) issue of Glory of the Inner Force), so I won't cover that again here. Suffice to say when this archival discovery was released in 1999 it was a huge boon to fans like myself. Though oddly enough, after dutifully buying the set immediately and hearing it to great satisfaction, it has sat patiently another 23 years for its second visit (there's that number again...). As such I didn't remember anything about it.

The first disc is The Making Of... Galleons of Passion, and is essentially an earlier version of what was to be released. All five tracks are represented here, and to my ears the rougher mix is more pleasurable. Galleons of Passions was a bit too slick for a band like Finch. So I find this to be the definitive version. Even better is there are three unreleased tracks from the same session, any one of them could have - or should have - been on the original album. It's a short album and there was room for all of them. The best of these three IMO is 'Phases'.

Disc 2 is the Stage '76 portion. Here you have 71 minutes of live Finch in their prime. There are two tracks from Glory of the Inner Force and two from Beyond Expression. All of them energetic recreations, though they don't deviate much from the original material. Best of all is the unreleased 17 minute 'Necronomicon', sounding all the world like a missing track from Glory. Instrumental progressive rock like only Finch could do. Overall a must pickup for fans of the group.

Ownership: CD: 1999 Pseudonym. Fatbox 2xCD set with superb liner notes detailing the full history of the band (and the only place I have this).

1999 (first listen); 6/27/22 (review/new entry)

Redshift - IV: Siren. 2002 England

As with Radio Massacre International (RMI), I have a large amount of Redshift CDs. In this case I own 12 of them. Of all the great bands operating in the retro Berlin School Electronic space, I would submit that Redshift are the best of the lot. Even within those tight confines, I had Siren in the upper tier. This listen may have moved it down to the second division. Which is still excellent in my book, but the competition is fierce. Siren is from their 1999 Alfa Centauri concert, and features them as a quartet, which was their best lineup. Veteran synthesist Mark Shreeve leads the group with his Modular Moog in tow. Literally you need a tow truck to move it around. When folks talk about fat analog sequences, you cannot surpass the original Moog. And that's on full display here. Like with RMI, Baumann era Tangerine Dream is the blueprint. Maybe more towards Rubycon than RMI's Encore sounds. As wonderful as Siren is, I would suggest it is one of their more mellow releases. There isn't the sequencer, mellotron, and guitar rave-ups that you'll find on their best albums. Siren is sort of their Stratosfear if making a comparison. The best track is 'Bombers in the Desert', but that is not a new composition, coming from arguably their best album Ether. Everything else is new to this recording. I'm nowhere near looking to shed any Redshift from the collection yet, but if push came to shove, this wouldn't be among those that are guaranteed a spot.

Ownership: CD: 2002 Distant Sun. Jewel case with 4 page booklet. Purchased new close to when released. Good thing, as this is one of their hardest CDs to source.

11/11/16; 6/26/22 (new entry)

Still Life. 1971 England

One of what seems like 100's of English bands from 1971 dabbling between hard rock, psych, and progressive rock. So much so that the market was completely saturated, and many of these albums were forgotten for at least another decade or so. Once demand picked up, there was no supply, as so few sold in the first place. And one can understand why Still Life fell through the cracks. To 2022 ears, it's a superb example of the Hammond organ driven prog rock sound (to underscore, there's no guitar either). The compositions are well thought out, and the instrumentation is thick and wedgy. To 1971 ears, it was like too many other groups, and certainly not one of the most exceptional examples. There's nothing on Still Life that really stands out - no monster track that makes you want to hear it again and again. According to my post 2003 notes, I've heard the album 3 times, and on this last visit I had no recollection of what the album sounded like. However it's 1971 English organ led prog. Essential by its very nature.

Former ownership: CD: 2001 Vertigo (Japan). Papersleeve edition.

1//06 (first listen); 11/26/17; 6/26/22 (review / new entry)

Realm - Suiciety. 1990 USA-Wisconsin

I was most excited to revisit Suiciety when it came up on a random search. You all know how much I enjoy the tech (or prog) thrash genre. There were three albums that got me into the scene originally: Sieges Even - Life Cycle, Watchtower - Control and Resistance, and Realm's Suiciety. And to take that even further, this was the very first metal album I purchased new on CD, as the LP was scarce at the time, and vinyl appeared to be going the way of the dodo anyway (how times have changed).

From a personal standpoint, Realm's second and final album has a lot of meaning. From a musical perspective, it's an astounding achievement. Even though I had a very high rating on it already, I managed to squeeze a +1 into this listen. A word of caution for the newbie - the vocals are an acquired taste, just like all bands operating in this genre. He's an air raid siren for sure, but I think it fits the music perfectly. As with many albums in this space, the compositions tend to spray all over the place. The production is brilliant, and really brings out the bass here, which is some of the best I've ever heard on a metal album. This guy could replace Steve Harris (Iron Maiden) in a pinch if ever needed. Best of all is the use of electronics. And why is that? The producer was none other than Jim Bartz, who had recently saw some success with his first solo electronic album only 3 years prior. An odd choice, but a great contrast is offered. In conclusion, there is simply no other album like Suiciety. For that alone, it will remain immortalized in my collection.

Ownership: CD: 1990 Roadracer. Jewel case with booklet containing lyrics. Purchased new upon release as discussed above, from a local metal store in Richardson (Dallas area).

6/5/90; 10//14; 6/25/22 (new entry)

2022 Prog Journal Vol. 1 - Complete

Magic Bus - The Earth Years. 2020 Back to the Garden (LP). Magic Bus are one of many bands trying to capture the glory years of the Canterbury movement, mixing psych, prog, pop, and jazz. Unfortunately Magic Bus can't seem to shed a 90's indie/alt influence in their songwriting. In fact, concerning the songwriting, that element is almost nonexistent here. And that's the indie thing - strum a few chords and sing out of tune about things that are important to them and no one else. The opposite of what the Canterbury groups brought. Not all is a loss, as there's plenty of good neo psych to be found here too. But not enough to save it from the sell bin. (May)

Vance - An Epitaph for Mary. 1982 private (LP). As the years go by, my appreciation of the original neo prog movement has gone considerably up. Much of that can be attributed to nostalgia versus objective analysis. I had fallen hard for prog in the early 80s, but there were very few contemporary bands, and many of those I didn't know about until many years later. By that time I was already dismissing neo prog too lol. But in the last 10 years I've slowly added more and more albums from that era in (or back in) to the collection. Vance is a band I remember, but never heard, primarily because no one suggested I do. Sadly, in this case, they were correct. Vance is one of those Dutch bands that have their heart in the right place, but didn't have the proper background to understand the allure of prog that audiences were craving. The melodic songwriting, lengthy tracks, and guitar work are definitely prog rock motivated. But the canned production and plodding rhythms are stilted and boring. They were a product of the early 80s and I think they wanted to fit in with modern audiences while bringing a decade old approach. It didn't work then, and it still sounds wrong. An Epitaph for Mary is like a proto SI label album. I really wanted to like this and gave it more time than usual. But I just can't get into it. (Apr)

The Brotherhood Of Eternal Love - Green Morning Baby. 2000 Garageland (CD). Collection revisit (Apr). From the same heads that gave us Holy River Family Band, The Brotherhood Of Eternal Love would be their jam outlet. Similar to Humus / Frolic Froth in that way. Featuring one 73 minute track, some of this indeed does get tedious, but for much of it, I found it enjoyable. It really will test your tolerance of the space rock style, as it can jam for what seems like three hours. Find something to do while listening to it though, or you will doze off.

Frolic Froth - Eponymous. 1997 Smogless (CD). Collection revisit (Apr). As you have read in these very pages, I'm a huge fan of Humus. They were one of the few bands to take a page from the Sensations' Fix playbook for space rock. That is to say, they add a strong progressive / Canterbury rock component. Frolic Froth, on the other hand, is mostly the same cast of characters, but here they give up any composition aspect for pure Krautrock jamming. It's one of many albums shooting for the Guru Guru UFO sound. This is probably the best example of something I enjoyed in the late 90s (bought new when it came out) and I'm just tired of it by now. I can listen to Guru Guru and others from that era all day, but these newer bands just don't possess the same magic or background. Pretty tedious stuff, and this listen resulted in a -1.

*3rd Ear Experience - Boi. 2013 private (CD). Collection revisit (Apr). I misunderstood this title. It's not really just space rock, but has a strong hard rock prog angle to it as well. These kind of albums are much more interesting to my ears. More Nektar and less Hawkwind that is to say. Easy keeper.

The Vocokesh - Smile! And Point At The Mountain? 1995 Drag City (CD). Collection revisit (Apr). I got this in a collection buy in the late 90s, and I think it's been in the weedout stack ever since. The Vocokesh were related to F/i and are a Milwaukee based collective of freaks who were one of the first bands of the 1980s to try for a cosmic Krautrock sound. Almost all of their early albums are noisy, and lack the focus of the 70s masters. They were to improve, but this one remains chaotic to my ears.

Marillion - Brave. 1994 IRS (CD). Thrift shop find (Apr). In a parallel universe, I could see myself having stuck with Marillion and been a loyal fan to this day. In the life I chose, I remained loyal to IQ instead. There were a lot of parallels between the two bands from their beginning neo prog roots to their ultimate embracing of pop rock. Of course Marillion were far more popular with the general public, so it was much harder for them to retrace their steps. Steps that IQ proudly went back on and never lost their way again. Because I ultimately dropped Marillion at the time after Misplaced Childhood, I never heard another one of their albums, only adding Clutching at Straws many years after the fact. And with Marillion what that basically means is that I have no foundation whatsoever with the "Hogarth era". Even Fish will tell you that Hogarth has done an extraordinary job with the band, and it made no sense for him to return. To be honest, this album was much better than I thought it was going to be. It's not really my kind of progressive rock, definitely forged into the 90s model of mixing in commercial sounding pop and alt rock. But there was far more 80s neo prog in here than I thought there would be. Especially in the former half of the album. I almost kept it anyway. But I have no nostalgia here as I do for other bands of the era. And that's what would have been needed for me to continue on. I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back.

*Our Solar System - Origins. 2018 Beyond Beyond Is Beyond (LP). OK, what's with the annoying label name? I recently found a new sealed copy that was heavily marked down. I hadn't heard of this Swedish collective even though this is their 5th album and features Dungen members. Yea, it's Brooklyn Hipster alright. As I stated about Earthless, I'm pretty much filled to the brim with music such as this, but it's also hard to shuffle it out the door. I still enjoy a good old fashioned psychedelic Krauty jam here and there. It's nowhere near as engaging as the original masters, nor does it take the sound to the next level as the aforementioned Earthless recently did. It's definitely style over substance, but if this is considered mundane, then we must live in a very exciting world. Keeping it for now, and sometimes music like this clicks later on. (Mar)

Seventh Wave - Psi-Fi. 1975 Janus (LP). Seventh Wave is post Second Hand and the ultra obscure Fungus. They were popular with my runnin' set in Dallas in the early 90s, though I never took a shine to their two albums. But as been reported here often, time has been good to many of these revisits. Not so much with Psi-Fi. There's a strain of music coming from England that I've never really enjoyed, and Seventh Wave dabble in that here. It has glammy and theatrical elements, somewhat like Queen in that way. There are some pretty good progressive rock moments here, and I enjoyed a +1 listen. But not enough for a spot in the collection. (Mar)

*Earthless - Night Parade of One Hundred Demons. 2022 Nuclear Blast. 3 sided LP package with etched 4th side, all on gold vinyl. Yippee yayhoo. Hipster Essentials. But I might as well get my money's worth. As I mentioned before, when you have trade credit at a local store, there's pressure to take on new albums to settle the debt. I was familiar with Earthless, from their Rhythms from a Cosmic Sky album, which I heard not long after release (2007). If there's a style of music that I need less of, it's the kind Earthless peddle - that of the long form space rock jam. But if you're going to do it, you might as well do it right, and Earthless most certainly does. There are three long jams here, with the first being broken up into two parts. The last track 'Death to the Red Sun' is something special, with the kind of rave-up one rarely hears from modern bands who seem content to go along with image and sound, but little else. 52 years on from Guru Guru's UFO, and bands are still plowing that field looking for yields. Earthless takes the core of that sound and stretches it out. I really appreciate the energy the band brings to this recording. So yes, highly recommended, though I really didn't need another example. But this will likely outlast many others that are similar. (Mar)

*Alain Markusfeld - Contemporus. 1979 Visa/Egg (LP). I find it somewhat amazing that you can still buy high quality sealed prog albums from the 70s for under $10 (part 1). From the same good friend who sent me the Tyton (see Metal Journal), I purchased this album - sealed with no sale marks even. This is Markusfeld's 5th album. Concerning the predecessor I wrote: "On Platock, Markusfeld turns mostly to the acoustic guitar, with bursts of electric throughout - as well as a few wordless voices. This isn't so much a prog rock album, nor jazz fusion, but rather a cyclical piece that draws from both genres. Similar in that way to Mike Oldfield, and perhaps more specifically Michel Moulinie. Something like an Inventions for Acoustic Guitar, though far less cosmic. It's a unique album, one that doesn't grab your attention on paper, but becomes mesmerizing over the course of the album." All of that could be said here, perhaps even more academic. Almost an unclassifiable record, but one that satisfied on multiple listens. (Mar)

Mike Keneally - Boil that Dust Speck. 1995 Immune (CD). Thrift shop find (Mar). There's a style of progressive rock that I'm predisposed not to like, and Mike Keneally exists exclusively in that area. At least on Boil that Dust Speck. It lacks focus, is incredibly self-conscious on how complex it is, and comes across as more virtuous and superior to what you and your friends tend to like. Oh look how smart we are! Despite all of these preconceived notions, I almost kept this one. There are some truly fantastic progressions to be found, but sometimes I feel artists like this wouldn't know the difference. As my wife likes to say (in an unrelated context) "they can't see the dirty from the dirt". 

*Ruphus - New Born Day. 1973 Polydor (LP). Collection revisit (Feb). We talked about this debut a bit in the recent Ranshart entry. New Born Day is their heavy prog debut, and is more in line with the Norwegian scene of the day like Junipher Greene, Aunt Mary, Popol Vuh and their ilk. There are hints of the UK prog scene here, and the odd Yes reference, but nothing like Ranshart. Really strong work if early 70s Scandinavian styled heavy prog is your bag. Like with Murple, I hadn't heard this album in 20+ years, at the point of procuring this LP. Also checked out the bonus tracks on the CD, which is their 1974 single. Both of these are heavily Yes influenced and should have been included with Ranshart, rather than here. Given they are unique to this release, and quite excellent, I'm holding onto the CD as well.

*Wucan - Sow the Wind. 2019 Made in Germany (LP). Clear vinyl. Repressing of 2015 debut. I have their second full length album reviewed in here somewhere, and general wisdom has it that it's the greater of the two. But I liked this one better - really strong heavy psych / prog / Krautrock. The latter shows up in particular on the final 15+ minute track. By the time of the female narration in German, ou know you're sitting on a near masterpiece. One of the better recent-era albums I've heard. (Feb)

* - Keeping for the collection

Radio Massacre International - Planets in the Wires. 2001 England

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff. Where to draw the line? I dunno - kicking that can down the road some more. I have other fish to fry.

Ownership: CD: 2001 Northern Echo. Jewel case with family photos in the booklet. Purchase new near the time of release.

6/24/22 (new entry)

Malibran - Oltre L'Ignoto. 2001 Italy

Oltre L'Ignoto is the 4th studio album from Malibran, an Italian prog group that up this point had a checkered career. Their debut was more of an English styled neo prog album, and I eventually parted with it. I plan on revisiting the other pair in short order, but based on my last two listens of this album, I'm prepared to say it's their best, and might be the only one I keep. It's also the first album by them to be sung in Italian exclusively, which is not a coincidence in regards to my conclusion. Oltre L'Ignoto definitely has the characteristics of the classic Italian prog sound, with a light modern touch in the production. Of course the flute goes a long way to achieving that authenticity - both of the style and the retro outlook. Unfortunately the band dispersed at their height, and their next work was really a solo album. 

Ownership: CD: 2001 Mellow. Jewel case release with booklet that contains lyrics and photos from the 2000 ProgDay in North Carolina. Purchased near the time of release.

7/19/18; 6/24/22 (new entry)

Atlas - Blå Vardag. 1979 Sweden

Atlas were another group from northern Europe that played a highly melodic and pleasurable instrumental progressive rock. Similar to Rousseau in that way, as I just spoke about in the Flower in Asphalt review. Atlas are a bit more fleshed out and complex, but I found myself enjoying the more compact and punchy Rousseau on these revisits. I also hear the Dutch band Pantheon in these grooves. The type of music Atlas projects on "Blue Tuesday" has aged very well for me, and has proven to be timeless.

Ownership: LP: 1979 Bellatrix. Single sleeve. Online acquisition (2020). Cover projects the mood of the title. 

CD: 1995 APM. Jewel case. Booklet contains recording details. Also includes three very relevant bonus tracks: One from their next album when known as Mosaic; another from a 1995 reunion recording; and finally, an archival rehearsal from 1978. This CD is becoming as rare and expensive as the LP.

1995 (first listen); 6/24/10; 8/9/13; 6/23/22 (review / new entry)

Sergio Mendes & Brasil '66 - Fool on the Hill. 1968 Brazil

After hearing Equinox, I made the decision to hear all the Mendes albums, as long as they were in good enough shape. Brasil '65 is great and Equinox is very good, but the Herb Alpert album lost me. Fool on the Hill sits between the latter and Equinox in terms of quality. It really should have been better, as it isn't quite as cover heavy and features indigenous Brazilian songwriters. I wasn't convinced after the first side, but the flip sold me. In particular I fell for - of all things - 'Scarborough Fair'. I'm a fan of the song as it is, but the bossa nova version is just too much to resist. I can listen to Lani Hall (Herb Alpert's wife) and Karen Philipp all day long. Pizzicato Five and Stereolab made a career out of borrowing from this group. Keeper.

Ownership: LP: 1968 A&M. Gatefold. Thrift shop buy (2020). This is one of the easiest Mendes albums to find. I see them in thrift shops all the time. They sold enormous quantities back in the day and that generation is now dying out - or greatly downsizing. You shouldn't pay more than about $3 for this album.

Reel to Reel: 1968 A&M. How cool is this? Found at a thrift shop (2024).

12/19/20; 6/22/22 (new entry)

Sintesis - En Busca de una Nueva Flor. 1978 Cuba

Sintesis' debut perfectly captures Latin America's blend of simple romantic singer songwriter music with complex symphonic rock. Though isolated in communist Cuba, Sintesis managed to tap into that same mindset. Whether they obtained music similar on the black market, or were privileged to hear prog albums from Argentina and Venezuela, one cannot say. The compositions are well crafted, and the synthesizer work in particular recalls the more known UK bands from the mid 70s. Fine electric guitar as well. Female vocals in Spanish add to the allure. En Busca de una Nueva Flor remains the sole progressive rock album I own from Cuba. I enjoyed a +1 listen on this revisit.

Ownership: CD: 1997 Sol & Deneb (Mexico). Fine reissue with a short history of the band in Spanish. Features 2 bonus tracks, both from their 1981 self titled second album. I presume these to be the most progressive rock oriented songs from that album, but I've never heard it in full. This CD features unique artwork, and is the 3rd cover to do so. The second LP issue was released in Mexico, and I suspect that is the source of this CD as well.

4/6/16; 6/21/22 (new entry)

Osanna - Palepoli. 1973 Italy

If The Free Design represents one of my most favorite bands subjectively speaking, then Osanna represents the objective side. I'd go so far to suggest that Palepoli might be my highest rated album - that I actually don't feel. It has all the trademarks of a classic brilliant Italian prog album - the turn-on-a-dime meter and thematic shifts, the never-know-what's-going-to-happen-next unpredictability. It's not particularly professional and captures the band at the height of their frenzied amateur vision. All things I adore. And yet I always hear it detached. I don't get involved with it in the same manner as a Balletto di Bronzo, Biglietto per L'Inferno, Museo Rosenbach, Semiramis, or Jumbo. But I really don't know why. I guess there's some parts here that sound some like 50s rock n' roll and a little bit of that Italian restaurant "Whats-a-matta-you, HAY!". I dunno - honestly it's a superb slice of Italian prog pie. My rating remains at almost the highest level (Gnosis 12), but not at the very top tier.

Ownership: LP: 1973 Fonit. Gatefold with lyric insert. Acquired online (2003). 

CD: 2004 Arcangelo (Japan). Exact replicate of the original gatefold. Apparently all the reissues have additional music to the original LP. So I'll probably just hang onto this for now.

Former ownership: LP: 1980 Seven Seas. Gatefold. Acquired from a friend in Japan (1999)

LP: 1978 Fonit-Cetra. Single sleeve. Acquired in 1990.

1990 (first listen); 2/27/99; 2004; 6/19/22 (review / new entry)

The Free Design - Heaven/Earth. 1969 USA-New York

Heaven/Earth is the 3rd album from the Dedrick clan of western New York. The opening two tracks pack a wallop, and are arguably two of the best songs in their entire canon. 'My Very Own Angel', for me at least, is the most beautiful song they ever wrote. It really taps into a core childhood raw nerve that is incredibly powerful. This is followed by the energetic 'Now is the Time', one of the rare times you might think of The Free Design as a rock band. Too bad they didn't do more of that. From here it's the usual mix of covers and original material, the latter always more welcome. Having just spoke about Stereolab, you can really hear them lifting 'Where Do I Go' for any one of their albums. A brilliant album, their second best only topped by the stunning Kites are Fun.

Ownership: LP: 1969 Project 3. Acquired this online in 2012 to supplement the CD. Comes in what one reviewer hilarious calls a "bulletproof gatefold jacket". That is for sure!

CD: 2003 Light in the Attic. This was my introduction to the album. Fantastic reissue with full historical liners, the rare promo only Ellen Dedrick 45 - and The Free Design's contributions for Tony Mattola's Warm, Wild, & Wonderful album.

10//09; 5//11; 6/19/22 (new entry)

Kalevala + Nimbus: Pop Liisa 07 / 08. 1973-74 Finland (archival)

These Pop Liisa concerts were quite the revelation when Svart uncovered them about 6 years ago. I reported on most of the early ones already, but never did get around to penning notes on this release, which probably is the best one in terms of consistency.

Kalevala's People No Names album is one of my all time favorite early 70s Scandinavian albums. It's a high energy piece unmatched by the competition. The Pop Liisa concert comes one year later from that landmark album. Vocalist Harri Saksala has moved back to his native Finnish language and they've since added a woodwinds player. The music is similar, a bit more toned down, but nearly as satisfying, especially when Sakari Kukko pulls out the flute. According to the liner notes 'Verkossa' is the only track from People No Names, known as 'In the Net' on that album. However the primary theme of 'Myrskyä Pakoon' is definitely on People No Names as well, but I'll need to play it again to identify which track. An excellent archival find.

Even better is Nimbus' concert. Contrary to Kalevala, this predates their sole album. There are two tracks that are similar here, but again this is mostly unique material. Over the years, I've really come to appreciate Nimbus' progressive rock styling (and you can read my notes here on UMR), and this concert is on par with that great album. I seem to be alone in my praise, not an uncommon place to find myself, but this is an extraordinary effort.

Ownership: CD: 2016 Svart. Purchased new not long after release. Superb archival issue with full historical liner notes and great sound (all things considered). You can buy these as 2 separate release on vinyl, if so desired. 

7/21/17; 6/19/22 (new entry)

Rousseau - Flower in Asphalt. 1980 Germany

Many years ago, a fellow music collector once told me that the absolute worst kind of progressive rock was the type that Rousseau is peddling on Flower in Asphalt. Of course he enjoyed more dissonant music, whether it be free jazz to avant prog onto experimental electronic. We shared a common love for things like Krautrock and complex prog rock (he certainly enjoyed bands like Yes, Genesis, and Gentle Giant for example). But Rousseau? Go away with that stuff. I bring this up, because I see his viewpoint in more than a few contemporary online reviews. So he was hardly alone.

My take is the complete opposite. I love the instrumental melodic approach the band takes here. Beautifully written with superb electric guitar and flute. Certainly Camel is the main influence here, and that's more than fine with me. It's true that the majority of the keyboards are some kind of late 70s string synthesizer, but that's OK with me too. It may all be a bit simplistic, but it's something I enjoy hearing over and over. And I've felt that way now going on 30 years. And I would think even the most hardened prog fan could appreciate the multiple themed 'Dancing Leaves'. A top level album for me.

Ownership: LP: 1980 Steyrer Disco. Single sleeve. Online acquisition from Japan (2013). 

CD: 1990 Musea. This was my introduction to the album and band - and was purchased upon release. Has a nice history and some photos. No bonus tracks though.

I have a personal history with the band as well, which I tell in the entry for Retreat. Certainly that also factors into my overall feeling about their first two albums.

1991 (first listen); 1995; 4/23/10; 6/17/22 (review / new entry)

Pascal Languirand - Vivre Ici Maintenant. 1981 Canada-Quebec

The trio of classic Languirand albums is completed by Vivre Ici Maintenant. Surprisingly there is no noticeable decline in the quality. On this album, Languirand takes us a bit further to the East  Orient while adding some acoustic percussive elements. The sequencers and cosmic electronics are still ever present. And Languirand even adds a bit of Ashra styled echoed electric guitar to the stew, making this one perhaps a tad better than the previous album.

Ownership: LP: 1981 Minos. Single sleeve. Acquired from a mail order dealer in 1994. Never been reissued in any format, though it still remains at a reasonable price if in the market for the vinyl. The LP cover makes Languirand look ridiculous with his newly appointed gold tinted hair.

3//08; 6/27/14; 6/14/22 (newly separated entry)

Cirith Ungol - Frost and Fire. 1981 USA-California

Los Angeles area based Cirith Ungol were treading the same ground as Wichita's Manilla Road back in the late 70s and early 80s. America still didn't have an organized metal scene to speak of, and there were disparate groups throughout looking to find their niche. Cirith Ungol ended up being pioneers in what was later called Epic Metal. At the time, it seemed like an anachronistic throwback to the progressive rock era, but with a severe hard rock edge. While it certainly can be called metal, and I do, the music is based in late 70s hard rock recipes. But with an eye to more sophisticated arrangements and some room for jamming. Tim Baker screams with the best of them, and it's apparent Rush were also an influence back then. Obviously the big names of the day, Judas Priest and Black Sabbath, will also be recognizable here. Today, Frost and Fire has achieved cult status as one of the great early US metal albums. From the artwork to the overall sound, Cirith Ungol were many years ahead of the pack. Unfortunate they couldn't keep up the momentum like the almighty Road did.

Ownership: LP: 1981 Liquid Flames. Single sleeve. Those with a sharp eye may have noticed I picked up an original of King of the Dead at the Denver Record Show. Which I plan on revisiting. I also got this one from the same dealer (at a great price), but I hadn't heard it yet, hence its earlier feature. And yep, it's a true first pressing. Incredible fantasy artwork from Michael Whelan. The insert is homemade private press all the way. An amazing artifact from another era. 

6/14/22 (new entry)

Stereolab - Sound-Dust. 2001 England

Stereolab for me represents a period of life, that which we called the dotcom era, or even Y2K. There was a magical feeling around that time which for me included marriage and a major career trajectory in the IT industry. Even though they are from England, I always think of California when I hear this era of Stereolab. While Emperor Tomato Ketchup remains my favorite by The Groop, Sound-Dust has proven to be one of their better efforts during this time. With a band like Stereolab, it's more about each song than the album proper. They had a special way with crafting melodies and injecting retro sounds into an obvious modern framework. Oftentimes you'll hear names like Bacharach, Free Design, and Neu! when describing their sound. Back then I didn't know Sergio Mendes and Brasil '66, but it becomes obvious that one of their key ingredients was lifted from this great band. That of the dual female vocals, one of which may be lalala-ing while the other sings (in French or English). So yes, Lani Hall and Karen Philipp each get an assist here. For me highlights include the second half of 'Captain EasyChord' (seems to be a consensus favorite), 'Double Rocker', and 'Naught More Terrific Than Man'. It's a Time and Placer, that's for sure.

Ownership: CD: 2001 Elektra. Purchased new at Rasputin's in Newark, California (imagine that?) one year after release. Timing on this revisit is fascinating, as it's possible I may be returning to the Bay Area part time again, just as I was from 1998 to 2002 (maybe). In any case, I won't be revisiting this Rasputin's as they closed about 3 years ago. Berkeley, Campbell, and Pleasant Hill were my go-to stores back then though, and they're still open.

3/17/02; 1//15; 6/14/22 (new entry)